Even on those albums dominated by Paul, my favourite song was usually written by John. John was less productive than Paul in the late-60's, but he was more opened to new ideas. After all, John is my favourite Beatle.

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"Love is old, love is new; love is all, love is you."

nimrod

Even on those albums dominated by Paul, my favourite song was usually written by John. John was less productive than Paul in the late-60's, but he was more opened to new ideas. After all, John is my favourite Beatle.

John was always my favourite too, I was always in awe of the guy.......sometimes though, on an album there would be a Paul song that I would prefer to Johns, with Revolver I absolutely love Here There & Everywhere and For No One, Paul was really on form for Revolver...

But then again I absolutely love She said She said and Im Only Sleeping the above Paul songs were sublime though.

Paul conceived the idea of Pepper but I think Johns tracks stand out more ie A Day In Th Life and LSD

Pepper was sort of Paul's album but I agree John's "Lucy" and his segments of "Day In The Life" stand out.... in a similar way you could argue that A Hard Day's Night was very much John's album, yet Paul's "Can't Buy Me Love" "And I Love Her" and "Things We Said Today" more than hold their own.

I always think of the albums in terms of who dominated, like Paul dominated Let It Be and Abbey Rd, John dominated Hard Days Night, Rubber Soul, Paul dominated Revolver etc etc

I think The White Album, Let It Be and to a large extent Abbey Road are essentially "Paul-centric" but I'd have to disagree with you about Revolver nimrod. That was firmly John's & George's for me, those jangly spangly guitars on things like She Said She Said, I'm Only Sleeping and Taxman are the hallmark sound of Revolver... Paul is kind of hanging behind and out of step from the others - some of his tracks here are brilliant but somehow more old fashioned, less cool / cutting edge and - dare I say it - somehow less "Revolver-ish" (if that makes sense!) than the more exploratory Lennon/Harrison stuff which seems to share a more mutually "with it" LSD/psychedelic vibe at this point.

I think The White Album, Let It Be and to a large extent Abbey Road are essentially "Paul-centric" but I'd have to disagree with you about Revolver nimrod. That was firmly John's & George's for me, those jangly spangly guitars on things like She Said She Said, I'm Only Sleeping and Taxman are the hallmark sound of Revolver... Paul is kind of hanging behind and out of step from the others - some of his tracks here are brilliant but somehow more old fashioned, less cool / cutting edge and - dare I say it - somehow less "Revolver-ish" (if that makes sense!) than the more exploratory Lennon/Harrison stuff which seems to share a more mutually "with it" LSD/psychedelic vibe at this point.

Paul had a couple tunes that werent very 'Revolverish' in the album (For No One and HT&E in my opinion), but I still he had the masterpiece of the record with 'Eleanor Rigby' too. I probably would choose 'Got To Get You Into My Life' as the 2nd best song on the album too. I'm not too sure he was lagging behind now that I think about it.

John was always my favourite too, I was always in awe of the guy.......sometimes though, on an album there would be a Paul song that I would prefer to Johns, with Revolver I absolutely love Here There & Everywhere and For No One, Paul was really on form for Revolver...

But then again I absolutely love She said She said and Im Only Sleeping the above Paul songs were sublime though.

I think Revolver is the only Beatles album where John and Paul are virtually tied. First, each one was the main author of 5 songs (though I'm not counting "Yellow Submarine"). I agree with you that Paul wrote the best songs there in terms of songwriting, but John's ones were much more innovative in terms of sound, they sounded like nothing made before, though it seems that most fans don't like "Tomorrow Never Knows" as much as I do.

I actually like this song quite a bit. It's interesting to listen to, almost hypnotic, and it certainly makes the statement that The Beatles were headed in a whole new direction!

Right, it's probably the most revolutionary song ever, the greatest jump in my opinion. And all the weirdness is not its only merit, it also has one of best lyrics ever. I remember that it took me quite a lot time to dig it, but it finally became my very favourite song (by anyboby!). Anything was possible at studio after "Tomorrow Never Knows".

Paul conceived the idea of Pepper but I think Johns tracks stand out more ie A Day In Th Life and LSD

One of the aspects of A Day in the Life that makes is approach masterpiece level for me is the insertion of the middle section. I don't think the middle section is anything great by itself but by significantly changing tempo and/or voice mid song and then back again really resonates with me. I'm trying to think of another example where this approach was done but coming up blank this morning.

I don't know, I think that "Yesterday" is the only really outstanding Paul's song there, while John wrote "Help!", "You've Got To Hide Your Love Away" and "Ticket To Ride". I really like Paul's "The Night Before", "Another Girl" and "I've Just Seen A Face", but I don't think they're among the best Beatles songs in their catalog.

Paul had a couple tunes that werent very 'Revolverish' in the album (For No One and HT&E in my opinion), but I still he had the masterpiece of the record with 'Eleanor Rigby' too. I probably would choose 'Got To Get You Into My Life' as the 2nd best song on the album too. I'm not too sure he was lagging behind now that I think about it.

Perhaps I worded things rather clumsily... by "lagging behind" I meant, for example, that "Here There And Everywhere" has a Rubber Soul feel to it, and "For No One" and "Good Day Sunshine" (not very "Revolver-ish") are, to my mind, quite conventional, straight laced and old fashioned. I agree that "Eleanor Rigby" and "Got To Get You Into My Life" are two of the very best cuts on the album.... then again, "Good Day Sunshine" and "Yellow Submarine" - also McCartney songs - are the weakest. Paul seems to be going in one direction whereas John, George and even Ringo are heading in the other. Significantly "She Said She Said" - which just might be my very favourite on this album - apparently doesn't feature Paul at all.